Double post-classical event
Available for live-set
The Slap-Press is pleased to present an unprecedented encounter between two exceptional artists, Philippe Petit and Økapi! A musical dialogue between traditions and languages apparently remote. A decomposition and recomposition of the classical repertoire in a new shape, an impalpable texture of electronic sounds, misleading elements and rhythmic macro-structures that give rise to a phantasmagoria of sounds and colors. A way to recover the musical memories of the past and project them into the future, in a play of oscillatory new times and meanings.
In addition to the live-set of the Symphony 1 “Titan” by Gustav Mahler-Philippe Petit, and “Opera Riparata”, title of the electronic recomposition of the most famous arias by Økapi, is scheduled an improvisation between the two cut-up artists.
Philippe Petit – OFF TO TITAN
(a rework of Gustav Mahler’s symphonic poem)
Philippe began work on a recording of the original symphony – re-editing, time-stretching, distorting, filtering. adding his electronics by identifying areas he could enhance or develop or even alienate further from their original form, and then set to work improvising and layering new material into the piece, mindful of the collage aesthetic in Mahler’s work.
In a way reminiscent of “2001, A Space Odyssey” offering romantic music in an ultra modern design which set the orchestra in a new space… A little bit like if Bernhard Herrmann had scored the glorious “Forbidden Planet” sci-fi classic, listening to the soundtrack, the Titan you’re heading for is Saturn’s biggest moon!
Økapi – Opera Riparata
Tribute to Bruno Munari
Starting from the original text written in 1989 by Munari and Mosconi, the musician Økapi and the visual artist More*Tv*V de-structure and re-compose 40 famous Operas, following the contemporary framework of digital remix (cutting, breaking down, juxtaposing and overlapping).
While Munari and Mosconi’s monumental game/engine forecasted several performers and the whole scenic equipment, the Fixed Opera re-handles the same elements of the Opera language using only digital audio and visual instruments.
The possibility of digitalizing amongst every kind of cultural product, and the easiness of their retrieval turns that “availability of the whole music history” described in the original project into something which today is more real than ever, and brings Munari’s words into a new level, more prophetic than visionary as well. The Fixed Opera implies two different parts: studio session and live performance. In the first step, Økapi and More*Tv*V work on parallel paths mashing up the 40 Operas in short audio/visual portions of 1’11” time length each. The strictness of the writing mode is controverted in the latter part, when these rational and individual means meet, crash and melt, following the logic and the spontaneity of contemporary improv modules.
Just like in a child’s play, the Fixed Opera, though following strict principles and methods of academic composition, at the same time thrives on keeping itself close to the aim of staying free from ties and rules. It therefore suggests curiosity as a way of knowledge and creation but also as a transgression from primary forms to reach an unexpected result.
Since the early 2000s I have been performing the world, playing festivals all over Europe, Canada, USA, Mexico, Australia & Asia… Feeling lucky to release on several international labels such as Aagoo, Southern UK, Monotype, Alrealon Musique, Beta Lactam Ring, Sub Rosa, HomeNormal, Important, HelloSquare, Public Eyesore, Utech, Staubgold, etc… (see the section “Friends/Collaborators” above in the Menu bar for a detailed list + links).
To compose musics I use various instruments or devices, though most notably an Electric Psalterion + Hackbrett Cymbalum + Caterpillar Drum Guitars built by Yuri Landman (see right picture above) + turntables as well as a computer and synths to build up electronic layers, process acoustic and field recordings. On top of those, I like to move various glasses, pieces of wood, stones, or percussive objects, as well as taking advantage of vinyl material to fondle released sounds.
Dealing with Electroacoustics, because I’m relying on electricity/amplification to produce, manipulate, work on sound-material, but trying my best to explore various genres and make sure that each of my albums differs from the previous one, trying to avoid routine and surprise my listeners.
A journalist for various magazines/radios since 1983, as well as a musical activist, I have celebrated 30 years of activism, sharing musical passions… I am aso the man behind the cult labels Pandemonium Rdz. and BiP_HOp.www.philippepetit.info
“… It is this striking dialogue between Mahler’s past and Petit’s present, rather than a mere embellishment of classical music with a few electronic effects, which lends the result its inescapable pull and fascination. Album of the month!”
“Although Philippe Petit s work is continuously opening up to new grounds, this is a project that stands out by its audacious approach. The result may not be to the taste of purists, but there is no denying the impressive feat of rendering Mahler s original in such a psychedelic fashion while maintaining much of the original s integrity.”
ØKapi’s album releases illustrate his unique and edgy use of turntables and computer beyond the hip-hop school of chopped up music, creating music that veers from orchestral to lounge with quirky experimental electronics that maintain a delicate and spacious sound throughout
“Paolini’s remix compositions possess the steely bounce of traditional electronic music, mixed with the sometimes menacing, sometimes whimsical vibe of opera. It’s an interesting juxtaposition and one that might sound discombobulating if it weren’t so fascinating.”
“The pay off is worth it though as within this gargantuan effort there are some incredible bits of music and ingenious use of classical compositions. It’s been getting some, justifiably good press, not least by Wired magazine and is a truly great project that I think in years to come will be looked on in the same way as projects such as Plunderphonics.”
“Paolini’s remix compositions include electronic music, menacing and whimsical vibe opera. A perfect mix of an odd but uniquely composed sound.”
IN AUDIO WE TRUST:
“Økapi takes famous classical works and breaks them down into segments that are exactly 1 minute and 11 seconds, he then rearranges them and tweaks the hell out of them to create some of the most interesting sounds and tracks I have ever heard. At times ominous and other times whimsical this track is in a category of its own.”
IN YOUR SPEAKERS:
“On first listen, I was not sure what I had gotten myself into. However, during the third time though, the initially incongruous composition started to make sense. Through constant sonic foreshadowing and revisiting, this instrumental hip hop-opera achieves level of seamlessness that is nothing short of amazing.”
THE END OF IRONY:
“… a truly devilish sampling of opera mixed with contemporary sounds”
“Økapi is a maestro of the sample. Twisting hundreds of tiny sounds into a dense and emotive fabric, rich with as much left-field avant leanings as micro techno head nods. We dig..! Heady but also for the heads.”
SURVIVING THE GOLDEN AGE:
“It is a must listen for fans of classical music, turntablism, or just generally innovative/cool music.”
THIS IS BOOK’S MUSIC:
“… it ‘borrows’ from a number of famous works of opera, breaks it down to its core, then gathers up the dust and residue and creates something uniquely new-yet-familiar, done in the way that Økapi fans have come to know and envy.”
PARADE OF FLESH:
“Always scouring for something original and unique, we came across a ‘manipulated classical opera’ album by turntablist Økapi.”
“… a master of turntables and computer tech who reaches far beyond the realms of intermittent sample splicing.”
“Weather you like mashups, classical operas or inventive producers, Opera Riparata is worth a listen… it’s a sign of a good thing, that Paolini is somewhat breaking through from the mold and is thankfully showcasing this type of talent now.”